Arranged by Deborah Baker Monday. For string orchestra (88555) with optional 3rd violin/viola TC (3 copies) and piano. Playground String Orchestra Series. Grade 1.5. Score and set of parts. Duration 2 minutes, 45 seconds. Published by Kendor Music Inc (KN

Arranged by Deborah Baker Monday. For string orchestra. Orchestra. FJH Beginning Strings. Grade 1. Score and set of parts. Duration 1 minute, 15 seconds. Published by The FJH Music Company Inc

String orchestra

SKU: M2.MOS-40008

Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. Möseler Verlag #MOS 40008. Published by Möseler Verlag (M2.MOS-40008).

ISBN 9790203740087.

Zu den Pflichten der Hofkapellmeister und Hofkomponisten gehorte stets auch die Lieferung von Tanzmusik fur die Hoffeste. Bei Artaria in Wien erschienen 1791 Mozarts Zwolf deutsche Tanze, welche in den k. k. Redoutensalen aufgefuhrt worden sind; eine Zusammenstellung von Tanzen aus KV 600, 602 und 605. Die sieben Salzburger Menuette hatte Mozart bereits als Dreizehnjahriger geschrieben, die Sechs Landlerischen stammen aus dem Jahr 1791.

String orchestra

SKU: M2.MOS-40033

Mit Adagio und Fuge c-Moll. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. 30 pages. Möseler Verlag #MOS 40033. Published by Möseler Verlag (M2.MOS-40033).

ISBN 9790203740339.

Durch die Verbindung mit dem Baron van Swieten kam Mozart in intensiven Kontakt mit den Werken von Johann Sebastian Bach und Georg Friedrich Handel und dadurch zur Auseinandersetzung mit der Fugenkomposition als musikalische Form und stilistisches Ausdrucksmittel. Die Fuge KV 401 (der Schluss ist von Maximilian Stadler erganzt) ist original fur Klavier zu zwei Handen (wegen seiner enormen Schwierigkeit spater fur Klavier zu vier Handen eingerichtet). Adolf Hoffmann hat sie, analog Mozarts eigenem Beispiel (s.u.), fur Streichorchester instrumentiert. Ein strenges Werk, das Anklange an den Contrapunctus I in Bachs Kunst der Fuge aufweist. 1788 hat Mozart seine fur zwei Klaviere komponierte Fuge KV 426 fur Streichorchester eingerichtet (KV 546) und ihr ein Adagio vorangestellt, das zu seinen erschutterndsten Kompositionen zahlt. Die franzosische Punktierung der Anfangstakte deutet bereits die grosse seelische Spannung des Satzes an. Aus Mozarts letzten Lebensjahren stammt die Fantasie KV 606, ein Stuck fur ein Orgelwerk in einer Uhr, die strengen Satz und Sonatenform verschmilzt. Sie ist ebenfalls von Adolf Hoffmann fur Streicher instrumentiert.

String orchestra

SKU: M2.MOS-40162-70

Sinfonien 1-3. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Set of string parts. Möseler Verlag #MOS 40162-70. Published by Möseler Verlag (M2.MOS-40162-70).

ISBN 9790203743620.

Die Mailander Sinfonien, KV 155-160 schrieb Mozart wahrend seiner dritten Italien-Reise, Oktober 1772 bis Marz 1773, die er zusammen mit seinem Vater unternahm. Im Mittelpunkt der Reise stand die erste Auffuhrung der Oper Lucio Silla in Mailand. Am 28. Oktober schrieb Leopold Mozart in einem Brief aus Bozen ... Der Wolfg. befindet sich auch wohl; er schreibt eben fur die lange Weile ein Quatro ... und am 6. Februar teilt er aus Mailand mit ... der Wolfgang schreibt ein Quartetto .... Lange Zeit wurden die erwahnten Quatros als Streichquartette angesehen. Erst in der Auflage des Kochel-Verzeichnisses von 1965 wurden drei der sechs Stucke als Divertimenti klassifiziert und zwar aufgrund der von Mozart eigenhandig vermerkten Instrumentenverzeichnung Violini / Viole / Violoncello / Basso bzw. Violini / Viole / Basso. Eine Ausgabe als Orchesterquartette ist von daher, auch wegen der musikalischen Faktur der Stucke, gerechtfertigt. Die Werke stehen in der Tradition Samartinis; sie sind eine Weiterentwicklung der Salzburger Sinfonien, KV 136-138.

String orchestra

SKU: M2.MOS-40163

Sinfonien 4-6. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. Möseler Verlag #MOS 40163. Published by Möseler Verlag (M2.MOS-40163).

ISBN 9790203741633.

Die Mailander Sinfonien, KV 155-160 schrieb Mozart wahrend seiner dritten Italien-Reise, Oktober 1772 bis Marz 1773, die er zusammen mit seinem Vater unternahm. Im Mittelpunkt der Reise stand die erste Auffuhrung der Oper Lucio Silla in Mailand. Am 28. Oktober schrieb Leopold Mozart in einem Brief aus Bozen ... Der Wolfg. befindet sich auch wohl; er schreibt eben fur die lange Weile ein Quatro ... und am 6. Februar teilt er aus Mailand mit ... der Wolfgang schreibt ein Quartetto .... Lange Zeit wurden die erwahnten Quatros als Streichquartette angesehen. Erst in der Auflage des Kochel-Verzeichnisses von 1965 wurden drei der sechs Stucke als Divertimenti klassifiziert und zwar aufgrund der von Mozart eigenhandig vermerkten Instrumentenverzeichnung Violini / Viole / Violoncello / Basso bzw. Violini / Viole / Basso. Eine Ausgabe als Orchesterquartette ist von daher, auch wegen der musikalischen Faktur der Stucke, gerechtfertigt. Die Werke stehen in der Tradition Samartinis; sie sind eine Weiterentwicklung der Salzburger Sinfonien, KV 136-138.

Famous Overture Themes. Arranged by Douglas E. Wagner. Masterworks; Part(s); Score; String Orchestra. Belwin Concert String Orchestra. Form: Overture. Classical; Masterwork Arrangement; Romantic. 124 pages. Published by Belwin Music (AP.44809).

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

String Orchestra - Grade 1.5

SKU: KN.08214S

Arranged by Deborah Baker Monday. Accent String Orchestra. Kendor Music Inc #08214S. Published by Kendor Music Inc (KN.08214S).

UPC: 822795082142.

This epic battle between great classical themes features the famous opening of Beethoven's 5th Symphony, Mozart's Eine Kleine Nachtmusik, and Beethoven's jubilant Ode To Joy. As tension mounts and momentum builds, a grand takeover by Offenbach's Can Can provides the ultimate finale in this clever grade 1+ work. Duration 2:45. Available in SmartMusic.

By Wolfgang Amadeus Mozart. Arranged by Deborah Baker Monday. Cadet String Orchestra. Level: Grade 2 . Published by Kendor Music Inc.